Lindsey Kuhn prints works that rock
Lindsey Kuhn knows rock and roll because he puts a face on it. For more than a decade, the Denver-dwelling silk-screener has pressed posters for everyone from Public Enemy and Beck to Motörhead and Johnny Cash. Kuhn is often credited with helping to unleash a new poster revolution in the tradition of 1960s San Francisco psychedelia.
Kuhn's latest work is on display tonight at Freestyle 105, at the D.C. Gallery, 125 Broadway. Twenty new limited editions, which the graphics guru describes as "free-style printing" (a hand-pulled, screen-print and acrylic process), will hang alongside his famous rockin' handbills.
The innovator began his career printing work for artists like Robert Williams, Robert Crumb and Big Daddy Roth, and discovered his own talent for shredding out band propaganda in 1991, when he designed a rock poster for the first show of a then-unknown group named Tool. He has since hung his works on gallery walls in England, Switzerland and Japan. Kuhn is also profiled in a new book, Art of Modern Rock: The Poster Explosion, providing him with a permanent place in music history. But regardless of the artist's celebrity, his collectible posters continue to be stapled to utility poles around town, giving discriminating Denverites the opportunity to score them for free.
The opening reception for Freestyle 105runs from 7 to 10 p.m.; the show continues through February 2. For information, call the gallery at 303-733-4401; for invites, visit www.dc-gallery.com or pick up a pass at Rule Gallery, 111 Broadway. -- Kity Ironton
Pioneer animator is meticulous about insects
In Wladyslaw Starewicz's 1912 film Miest Kinooperatoraor The Cameraman's Revenge, a jilted husband takes revenge on his philandering wife by filming her with her lover and screening the footage at the local cinema. Though the film is only about ten minutes long, Starewicz packs in the action, showing the couple at a nightclub, a hotel, a cinema and a prison. There are also two dance numbers and an unruly brawl. Pretty elaborate behavior for a cast made up entirely of dead insects.
Grasshoppers battling beetles and dragonflies dancing on tables are standard fare for Starewicz, the renowned animator credited with creating stop-motion animation. Starewicz's affair with the camera began with his fascination for insects. He wanted to film them, but they kept dying beneath the hot lights. By painstakingly setting up each shot using deceased stars, though, Starewicz found he could tell whatever story he desired. He went on to make dozens of short films and a few features, honing his trademark stop-motion puppets to a level of precision and expertise that is stunning to observe, even in the age of Pixar.
The Boulder Public Library, 1000 Canyon Boulevard, will screen a collection of Starewicz's films tonight at 7 p.m. as part of the Emm Gee Film Library Series. Admission is free; for information, call 303-441-3100. -- Adam Cayton-Holland
Good to the Core
In the past, attendance at the annual members show at Core New Art Space was hit-or-miss. "At our old space on Larimer Street, we were more of a destination gallery," says Core's Katie Hoffman. "We're hoping that at our new space [900 Santa Fe Drive], there will be a better turnout."
Those who visit this year's Unique Core Annual Members Show, which opens tonight with a reception from 5 to 9 p.m. and runs through January 22, are sure to find something that catches their eye. The gallery's 22 members will display artwork in almost every medium imaginable, from splatter paintings to Legos. For more information, call 303-297-8428. -- Adam Cayton-Holland
Meet the Horndribbles and wonder
What the hell is a Horndribble? See for yourself tonight, when Denver artists Lucas Richards and Sarah Cassidy unleash their collaborative exhibit Meet the Horndribbles at WaterCourse Foods, 206 East 13th Avenue. And just to give you an idea, imagine a den of demented Fraggles or maybe Monsters, Inc. on crack.
Richards envisioned the Horndribbles a few months ago and began filling sketchbooks with designs for cuddly creatures to later be cast in felt, fur and fleece. The project was realized with the help of Cassidy and her stitching acumen; Richards took detailed, gallery-quality photos of the fuzzy mutants after their creation. Both the sculptures and the prints will be on display -- and to top the whole thing off, there will be a performance by local band Six Months to Live, with the members dressed up in monster costumes.
Why monsters? "Humans are boring," Richards explains.
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